THE 

DELPHIAN  COURSE 


(A) 

EXPOSITIONS  AND 
INDUSTRIAL  PROGRESS 

(B) 

AMERICAN  ART  AND 
ART  CENTERS 


SIXTEENTH  MONTH 


Copyright,  1913,  by  Ths  DsLyaiAN  Society,  Chicago 


Digitized  by  the  Internet  Archive  , 
in  2016 


https://archive.org/details/delphianc6urse00delp 


/ 


j Cjrposittons  wXtj  fnliu0trtal  | 
progress  t 

' Intro-  ] 
ductory  | 

1 CONCEIVE  it  to  be  the  duty  of  every  edu-  ‘ 

\ II  cated  person  closely  to  watch  and  study  the  ^ 

!r  time  in  which  he  lives,  and,  as  far  as  in  him  r 

j lies,  to  add  his  humble  mite  of  individual  exertion  ^ 

/}  to  further  the  accomplishment  of  what  he  believes  a 

{ Providence  to  have  ordained.  Nobody,  however,  ^ 

[ who  has  paid  any  attention  to  the  particular  features 

i of  our  present  era,  will  doubt  for  a moment  that  we  \ 

are  living  at  a period  of  most  wonderful  transition,  / 

1 which  tends  rapidly  to  accomplish  that  great  end—  | 
V . to  which,  indeed,  all  history  points— the  realization 
1 of  the  unity  of  mankind;  not  a unity  which  breaks 

) down  the  limits  and  levels  the  peculiar  characteristics  | 

^ of  the  different  nations  of  the  earth,  but  rather  a 

\ unity,  the  results  and  products  of  these  very  national  ^ 

m varieties  and  antagonistic  qualities.  The  distances  < 

S which  separated  the  different  nations  and  parts  of 

W the  globe  are  gradually  vanishing  before  the  achieve-  | 

^ ments  of  modern  invention  and  we  can  traverse 

^ them  with  incredible  speed ; the  languages  of  all 

nations  are  known;  and  their  acquirement  placed 
jf  within  the  reach  of  everybody;  thought  is  com- 

^ municated  with  the  rapidity  and  even  by  the  power  , 

^ of  lightning.  On  the  other  hand,  the  great  principle  ] 

V of  the  division  of  labor,  which  may  be  called  the 

j moving  power  of  civilization,  is  being  extended  to  all 

f branches  of  science,  industry  and  art.  Whilst 

\ formerly  the  greatest  mental  energies  strove  at  uni- 

^ versal  knowledge,  and  that  knowledge  was  confined 

1 to  few,  now  they  are  directed  to  specialties,  and  in 

Page  one 


these  again  even  to  the  minutest  points.  Moreover, 
the  knowledge  now  acquired  becomes  the  property 
of  the  community  at  large.  Whilst  formerly  dis- 
covery was  wrapt  in  secrecy,  it  results  from  the 
publicity  of  the  present  day,  that  no  sooner  is  a 
discovery  or  invention  made,  than  it  is  already  im- 
proved upon  and  surpassed  by  competing  ef- 
fort. . . . 

'‘The  exhibition  is  to  give  us  a true  text  and  a 
living  picture  of  the  point  of  development  at  which 
the  whole  of  mankind  has  arrived  in  this  great  task, 
and  a new  starting  point,  from  which  all  nations  will 
be  able  to  direct  their  future  exertions.'' 

S^ntrotiuttorp 

1.  Where  do  we  find  the  antecedent  of  present-day 

expositions?  X,  83. 

2.  Our  word  fair  has  what  probable  derivation? 

3.  Where  are  old-time  fairs  perpetuated  to  this 

day? 

4.  The  yearly  assembling  of  nations  at  Nijni-Nov- 

gorod  presents  one  of  the  most  unique  spec- 
tacles the  world  affords. 

5.  In  what  part  of  the  New  World  were  such  fairs 

once  held?  X,  84. 

Carip  ^international  <iErpojStitionje( 

1.  By  whom  was  the  London  Exposition  of  1851 

conceived?  X,  84. 

2.  The  Crystal  Palace  is  still  used  for  large  gather- 

ings. 

3.  The  scope  of  this  undertaking  is  set  forth  in 

the  speech  made  by  the  Consort  Prince  at  a 

London  banquet. 

4.  By  what  exhibits  was  our  republic  represented  ? 

X,  86. 


Page  two 


5.  The  classification  of  exhibitions  at  the  Paris 

Exposition  of  1867  has  been  widely  com- 
mended. X,  87. 

6.  What  honor  was  conferred  upon  McCormick? 

7.  What  device  for  transit  of  news  was  accorded 

high  praise?  X,  88. 

8.  What  were  the  circumstances  that  made  a 

Vienna  Fair  popular?  X,  89. 

Stmerica’si  f irjSt  ^international  jpair 

1.  Our  country  was  fortunate  in  having  two  poets 

par  excellence  to  extol  the  significance  of  the 
Centennial.  X,  90,  99. 

2.  Note  the  splendid  showing  made  by  Japan  at 

this  early  date.  X,  92. 

3.  What  benefits  has  our  national  signal  service 

accorded  us  since  that  time? 

4.  The  merits  of  a kindergarten  were  shown  for 

the  first  time  in  America  on  the  Exposition 
Grounds. 

5.  What  part  did  women  take  in  the  enterprise? 

X,  94. 

6.  Why  is  it  customary  to  begin  any  study  of 

American  art  with  the  Centennial  ? X,  94. 

7.  Contrast  the  dark  nights  with  closed  grounds 

and  nights  at  present-day  expositions. 

8.  Why  has  this  Fair  been  called  “severely  educa- 

tionaF’? 

9.  What  lasting  benefits  did  it  give? 

Cfttcaso’ii  WWt  <titp 

1.  How  did  our  country  celebrate,  in  1792,  the 

anniversary  of  its  discovery?  X,  103. 

2.  Beginning  with  the  Centennial,  each  exposition 

held  in  America  has  left  some  memorial  build- 
ing or  buildings  to  commemorate  the  occasion 
and  give  material  advantage  to  the  locality. 
X,  106. 


3-  Uniformity  of  architectural  desigfn  accounted 
in  a large  measure  for  the  gratifying  spectacle 
Chicago’s  exposition  ground  afforded  in  1893. 

4.  Here  for  the  first  time  electricity  made  nights 

attractive,  buildings  being  threaded  by  in- 
candescent lights. 

5.  The  Children’s  Building  was  an  innovation. 

X,  108. 

6.  A study  of  the  growth  of  the  variety  of  amuse- 

ments each  large  city  and  resort  now  affords, 
would  reveal  the  fact  that  such  diversions  un- 
dertaken on  any  extensive  scale  date  from  the 
Chicago  Exposition. 

7.  Where  were  historical  records  housed?  X,  109. 

8.  Never  have  the  allied  Congresses  in  connection 

with  an  exposition  been  given  greater  impor- 
tance. 

9.  What  is  said  of  the  Congress  of  Religions  and 

why  was  it  remarkable?  X,  iii. 

10.  Some  of  the  seed  sown  by  workers  in  the  cause 
of  woman’s  suffrage  has  since  borne  fruit. 

€()e  (ejcjtojEittton  of  ^meticajS 

1.  What  conditions  made  it  seem  desirable  to  con- 

vene representatives  and  exhibits  from  the 
Latin  republics  of  South  America?  X,  152. 

2.  What  did  President  McKinley  mean  when  he 

called  expositions  “the  time-keepers  of  prog- 
ress” ? 

3.  In  what  particulars  did  this  showing  at  Buffalo 

excel  ? 

4.  What  style  of  architecture  prevailed? 

5.  Color  was  used  for  the  first  time  on  buildings 

at  this  exhibition. 

6.  How  have  evenings  at  the  Pan-American  been 

described?  X,  156. 

7.  Why  is  it  desirable  that  the  federal  government 

should  make  extensive  exhibitions  at  ex- 
positions  ? 


8.  What  new  electrical  devices  were  shown  here 
for  the  first  time?  X,  158. 

Were  the  results  hoped  for  this  undertaking 
realized  ? 

Souijafiatia  ^uctl^a^e  Cele&ration 

1.  There  is  no  story  in  American  diplomacy  more 

fascinating  than  the  one  recounting  the  pur- 
chase of  Louisiana. 

2.  What  difficulties  threatened  its  accomplishment? 

X,  160. 

3.  Why  was  Napoleon  willing  to  part  with  this 

wide  territory? 

4.  Note  Webster’s  opinion  of  its  value  and  realize 

how  little  the  region  was  comprehended  at 
the  time. 

5.  What  states  and  territories  have  been  formed 

from  the  territory  purchased  ? 

6.  Why  was  this  celebration  appropriately  held  in 

St.  Louis? 

7.  What  was  the  keynote  of  the  exhibition?  X, 

’ 164. 

8.  In  what  respects  did  it  differ  from  earlier  exhibi- 

tions ? 

9.  What  gives  unity  to  our  public  education  when 

each  state  develops  its  own  system?  X,  166. 

10.  What  lessons  do  expositions  give  for  municipal 
construction  and  development?  X,  167. 

ttctoij#  anb  Clarfte  (ejcpojtfition 

1.  Why  did  Jefferson  send  an  exploring  party  out 

to  the  great  northwest?  X,  168. 

2.  In  what  respects  was  the  progress  of  these  two 

pathfinders  remarkable  ? 

3.  From  what  incident  did  Council  Bluffs  take  its 

name?  X,  169. 


4-  The  diaries  of  the  explorers  abound  in  interest 
which  a new  country  could  alone  provide.  X, 

174. 

5.  How  did  the  Portland  Fair  differ  from  those 

previously  held? 

6.  For  the  first  time  a display  was  made  of  irrigat- 

ing methods  and  devices.  X,  172. 

7.  Vast  western  desert  regions  will  be  brought 

under  cultivation  when  irrigation  is  more 
widely  undertaken. 

8.  Why  did  the  Forestry  Building  attract  atten- 

tion? 

9.  What  practical  results  attended  the  exposition? 

X,  173. 


€ommemotation  of  ^'atnesftoton  Settlement 

1.  The  strivings  of  the  first  English  colony  at 

Jamestown  afford  an  interesting  chapter  in 
American  history. 

2.  How  nearly  did  this  colony  come  to  total  failure  ? 

3.  Why  was  it  appropriate  that  an  exposition  held 

at  this  point  should  give  emphasis  to  colonial 
conditions  ? 

4.  What  colonial  industries  and  occupations  were 

revived  for  our  new  and  wondering  genera- 
tion? 

5.  Note  the  first  exhibition  made  by  the  colored 

people  of  the  South.  X,  188. 

6.  In  what  respect  was  the  advertising  of  this 

enterprise  unfortunate  ? 

7.  Why  are  military  displays  less  popular  here 

than  in  certain  European  countries? 

8.  Did  this  exposition  look  towards  the  past  or  the 

future  ? 

9.  Was  it  regarded  as  successful? 


1.  Compare  the  outburst  of  indignation  that  fol- 

lowed the  Louisiana  Purchase  with  that  which 
greeted  Seward’s  achievement.  X,  196. 

2.  The  resources  of  Alaska  are  so  far  unguessed 

that  few  Americans  have  any  conception  of 
their  vast  extent. 

3.  Why  was  Seattle  the  most  appropriate  spot  for 

the  holding  of  this  celebration?  X,  197. 

4.  It  was  hoped  to  stimulate  American  trade  with 

what  foreign  countries? 

5.  Note  the  substantial  benefits  this  fair  conferred 

upon  the  State  University. 

6.  What  permanent  buildings  were  constructed? 

X,  200. 

7.  Note  the  first  showing  made  in  the  United 

States  from  the  Islands. 


Alaska* 

Yukon- 

Pacific 


^anamar^^acific  <£rpOi8?xtion 

J^^ITH  the  exception  of  the  Buffalo  Exposition, 
undertaken  in  the  interest  of  trade  alone,  our 
national  and  international  “Fairs”  have  been  held 
to  commemorate  some  historical  occasion.  When 
first  we  invited  foreign  peoples  to  join  with  us,  we 
celebrated  the  anniversary  of  our  Declaration  of 
Independence,  which  proclaimed  the  birth  of  a nation 
“conceived  in  liberty  and  dedicated  to  the  proposi- 
tion that  all  men  are  created  equal.”  At  the  great 
Lake  City,  honor  was  paid  to  the  dauntless  spirit 
that  braved  the  terrors  of  the  deep  and  revealed 
two  continents  to  the  civilized  world.  At  St.  Louis 
was  celebrated  that  happy  purchase  from  France 
of  a boundless  tract  from  which  twelve  states  and 


Page  seven 


two  territories  have  been  formed.  At  Jamestown 
men  enjoying  twentieth  century  advantages  and 
comforts  looked  back  to  the  exposures  and  dangers 
that  confronted  earliest  settlers  in  our  land  and 
’ viewed  with  admiration  the  rapid  progress  made 
by  the  forefathers  in  a wilderness.  At  Portland 
the  courage  and  fortitude  of  the  pathfinders  was 
honored,  while  the  glories  and  resources  of  a great 
northwest  were  made  more  generally  known  to  dis- 
tant parts  of  our  republic,  while  in  celebrating  the 
Alaskan  Purchase,  the  possibilities  of  unknown 
Alaska  were  given  some  publicity. 

The  Panama-Pacific  Exposition  looks  backward 
only  to  give  a passing  glance  to  the  realization  of 
an  old,  old  dream,  considered  and  dismissed  by  an 
early  Spanish  king  and  resurrected  by  another  nation 
only  to  be  abandoned.  It  is  the  greatest  physical 
undertaking  the  world  has  witnessed  and  is  destined 
to  affect  future  trade  and  industry  profoundly. 

1.  Note  the  history  of  the  Canal  project.  X,  201. 

2.  Why  did  the  French  company  organize  to  con- 

struct this  waterway  fail? 

3.  What  was  done  by  the  United  States  sanitation 

^ commission  before  the  work  of  construction 

began?  X,  202. 

4.  What  portions  of  the  work  were  most  difficult 

to  accomplish? 

5.  What  advantages  does  San  Francisco  offer  for 

the  celebration  of  this  engineering  feat? 

6.  What  plan  for  general  arrangement  of  exhibi- 

tion buildings  was  decided  upon?  X,  9. 

7.  Several  beautiful  courts  will  add  to  the  beauty 

of  the  Exposition  grounds. 

8.  How  will  color  be  employed  in  architecture? 

9.  The  statuary  carries  out  the  underlying  idea  of 

the  whole  in  what  ways  ? 


Exten* 

sion 

Work 


25ibKograpf)p 


(Magazine  articles  and  government  reports  supply 
material  for  this  subject.  A complete  history  of 
expositions  is  yet  to  be  written.) 

Helpful  for  western  expositions: 

Vancouver’s  Discovery  of  Puget  Sound,  Meany; 
Macmillan.  1907, 

Fifteen  Thousand  Miles  by  Stage,  Straham ; Put- 
nam. 1911. 

Lewis  and  Clarke— The  Trail  Makers,  Barnes; 
1904. 

Glimpses  of  California,  Jackson;  Little-Brown. 
1883. 

The  Great  Pacific  Coast,  Enock ; Scribner.  1910, 
The  Mastery  of  the  Pacific,  Colquham  ; Macmil- 
lan. 1902. 

Islands  of  the  South  Seas,  Shoemaker;  Putnam, 
1898. 

The  Philippine  Islands,  Atkinson ; Ginn.  1906. 
Panama,  Lindsay;  Winston.  1911, 

Panama  and  What  It  Means,  Fraser;  Cassell. 

1913- 


Page  nine 


Intro- 

ductory 


9lmer(can  ^xt  anti  9ixt  Centers 

INCE  our  forefathers  settled  in  a wilder- 
ness and  began  to  hew  homes  for  themselves 
and  their  children  in  primeval  forests,  Amer- 
icans have  been  principally  occupied  with  the  get- 
ting of  a living.  Some  among  them  have  become 
so  impassioned  with  the  love  of  gain  that  long  after 
the  living  had  been  provided  they  have  continued 
to  pile  up  metal  for  itself  alone.  Nevertheless,  the 
vast  majority  have  found  the  pursuit  of  a livelihood 
sufficient  for  their  energies.  A new  continent  with 
resources  yet  undreamed  has  supplied  many  varieties 
of  work,  and  the  fascination  of  binding  it  with  iron 
rails,  constructing  tunnels,  spanning  chasms  and 
eliminating  distance,  of  bidding  the  desert  to  blossom 
as  a fruitful  valley,  of  creating  cities  and  supplying 
these  with  every  comfort  of  the  age,  has  so  far 
satisfied  and  satiated  the  ambitions  of  a young 
nation. 

Art  was  long  regarded  as  superficial,  wholly  out- 
side the  consideration  of  the  man  of  affairs.  It  is 
still  largely  viewed  as  the  portion  of  a leisure  and 
moneyed  class.  Yet  this  American  view  is  not 
shared  generally  by  people  of  other  lands.  In  older 
countries  of  Europe  the  simplest  laborer  feels  a 
personal  pride  in  the  gifted  of  his  vicinity  and  coun- 
try. In  Germany  the  great  musical  composers  are 
spoken  of  familiarly  by  all  and  beautiful  statues  and 
paintings  are  pointed  out  by  children  with  pride. 
Such  beauty  as  the  past  has  bestowed  is  cherished 
and  the  new  arrival  to  our  shores  sadly  misses 
works  of  art  known  from  infancy.  A Greek  fruit 


vender  expressed  surprise  at  questions  asked  him  by 
a resident  of  Hull  House  upon  one  occasion,  when 
suitable  Greek  actors  for  an  amateur  production 
of  Antigone  were  being  sought.  He  had  not  known 
that  people  in  America  were  interested  in  Greece. 
'‘Why,’'  he  exclaimed,  "I  grew  up  within  sight  of 
the  Acropolis,  yet  during  the  ten  years  I have  lived 
in  Chicago,  no  one  has  ever  asked  me  about  my 
home  in  Athens !”  Many  an  Italian,  working  with 
pick  and  shovel  in  a street  gang,  could  tell  of 
some  secret  for  delicate  mosaic  or  other  ornamental 
and  decorative  design  that  has  been  handed  down 
in  his  family  for  generations,  and  the  statuary  and 
painting  of  his  native  town  he  has  known  since  child- 
hood. 

The  beginnings  of  art  have  been  made  in  America. 
It  was  the  recollection  of  bare  church  walls  in  New 
England  that  led  LaFarge  to  enter  upon  a laborious 
study  of  mural  paint^^  - ?aia  stained  glass  windows 
and  to  make  the  fi.st  successful  attempts  in  these 
fields  in  this  country.  It  is  no  longer  imperative 
that  an  artist  make  his  home  abroad.  A few  of  our 
gifted  pa^^Kers  have  remained  characteristically 
American.  However,  a time  is  coming  when  har- 
mony and  beauty  will  be  accorded  deeper  impor- 
tance, when  strangers  will  not  comment  upon  our 
unfinished  cities  with  public  buildings  erected  as  if 
each  were  to  stand  alone  and  residences  constructed 
without  regard  to  surrounding  structures  and  the 
general  appearance  of  the  neighborhood.  Not  al- 
ways will  the  average  household  interior  display  a 
motley  array  of  articles  each  accumulated  regardless 
of  the  rest.  In  the  Greek  home  the  appointments 
were  simple  but  each  water  jug  and  jar  was  in  itself 
an  ornament.  A sense  of  harmony  pervaded  the 
house  and  this  was  accentuated  by  the  beauty  of 
the  city’s  citadel.  Small  wonder  that  he  imbibed  a 
love  of  beauty  with  his  earliest  breath  and  became 
an  ardent  worshipper  of  beauty. 


American  fainting 

Early  Painting. 

1.  What  discouragements  confronted  the  aspir- 

ing colonial  painter?  X,  207. 

2.  The  life  of  West  reads  like  a romance.  X, 

208. 

3.  Why  did  early  artists  go  to  Europe  to  work  ? 

4.  What  kind  of  pictures  did  Copley  produce? 

5.  In  what  did  Stuart  excel?  X,  210. 

6.  The  commission  given  by  Congress  to  Trum- 

bull was  the  first  of  importance  to  be  given 
to  any  American  artist  in  this  country. 

7.  Who  were  important  among  The  Hudson 

River  group  of  painters?  X,  21 1. 

8.  Who  was  most  gifted  among  them? 

9.  Why  was  Inness  unsuccessful  as  instructor 

to  others? 

10.  What  phase  of  nature  especially  appealed  to 
him?  X,  213. 

Later  Painters. 

1.  What  prodigious  undertaking  gave  Vedder 

wide  fame?  X,  215. 

2.  Where  has  he  spent  his  life?  X,  216. 

3.  Why  is  Winslow  Homer  regarded  as  most 

American  of  painters?  X,  217. 

4.  Which  are  best  known  among  his  produc- 

tions ? 

5.  In  what  way  has  he  influenced  American  Art  ? 

6.  LaFarge  was  versatile  in  tastes  and  abilities. 

X,  219. 

7.  What  celebrated  windows  did  he  design  and 

execute  ? 

8.  Where  may  his  mural  decorations  be  seen? 

9.  In  what  sense  was  Whistler  an  American 

artist  ? X,  220. 

10.  Note  his  preferences  for  night  scenes. 


^ II.  Sargent  is  America's  greatest  portrait  painter.  1 

\ 1 
5 12.  What  painter  has  been  tireless  in  his  assis- 

1 tance  to  art  students  ? X,  224.  1 

[The 

j Delphian  J 
\ Course  ] 

^ ‘‘Among  the  most  pathetic  figures  in  the  world 

may  be  counted  the  men  and  women  who  may  be 
seen  in  any  picture-gallery  slowly  circumambulating  | 

^ the  four  walls  With  eyes  fixed  upon  catalogue  or 

i guide  book,  only  looking  up  at  intervals  to  insure  ^ 

w that  they  are  standing  before  the  right  picture.  All  ( 

(T  unknowing,  they  falter  on,  achieving  only  fatigue 

j of  body  and  mind,  with  a certain  mournful  satisfac-  | 

h tion  in  a toilsome  task  nearing  accomplishment. 

i Again  and  again  they  find  themselves  looking  at  ^ 

1 famous  pictures  without  seeing  them.  They  are 

L conscious  that  some  wonderful  power  lies  hidden  < 

1 there,  but  they  do  not  know  the  charmed  word  to  . 

J release  it.  They  feel  sure  they  should  be  interested ; ( 

at  the  same  time  they  know  they  are  bored.  . . . 

1 “We  long  to  feel  at  home  in  a collection  of  pic- 

^ tures,  instead  of  lost  in  a strange  world,  out  of 

{(  touch  with  its  inhabitants.  Not  a city  of  importance  < 

M in  Europe  but  has  acquired  or  is  acquiring  its  * 

^ picture-gallery.  Not  a house  or  cottage  but  con-  \ 

W tains  some  form  of  pictorial  art.  Yet  there  is  little  t 

P or  no  literature  dealing  with  pictures  from  the  point  ^ 

\ of  view  of  how  to  look  at  them.  The  art  of  seeing 

pictures  is  not  contained  in  rules  or  formulae.  Books 
n can  no  more  teach  how  to  see  pictures  than  how  to 

3 paint  them. 

^ “You  must  look  at  pictures  studiously,  earnestly,  j 

^ honestly.  It  will  take  years  before  you  come  to  a 
J full  appreciation  of  art;  but  when  at  last  you  have 
1 it,  you  will  be  possessed  of  one  of  the  purest,  loftiest 

\ and  most  ennobling  pleasures  that  the  civilized  world  j 

1 can  offer  you." 

Page  thirteen 


1 Amefi-  . 
can  Art 
/Galleries  / 

' ^mmcan  ^rt  aBaHemsf 

1 The  Metropolitan.  ' n 

) I.  Where  is  this  gallery  located?  X,  225.  | 

^ 2.  What  old  masters  are  represented?  ^ 

1 3.  Note  the  examples  of  early  American  paint- 

^ ing  here.  ^ 

) 4.  What  endowment  was  directed  to  the  en- 

rz 

couragement  of  living  American  painters?  J 

X,  226.  (L 

^ Pennsylvania  Academy.  1 

3 5.  When  was  this  gallery  founded  ? X,  227.  1 

6.  Note  that  the  present  building  commemorates  | 

^ the  Centennial.  J 

L 7.  What  especially  attracts  the  visitor  here?  [ 

I 8.  In  what  does  the  value  of  the  collection  ^ 

largely  consist?  1 

1 Boston  Museum.  d 

^ 9.  What  led  to  the  establishment  of  this  g 

1 museum?  X,  230.  g 

c 10.  What  real  treasures  are  here?  S 

J II.  Several  recent  American  artists  are  well  c 

represented?  X,  231.  / 

Corcoran  Gallery.  ^ 

/ 12.  For  whom  was  this  collection  named?  X,  ^ 

1 232.  ^ 

^ 13.  Note  that  bi-annual  exhibits  are  held  here,  ^ 

these  more  important  to  aspiring  artists  \ 

. than  any  others  yet  inaugurated. 

1 14.  What  American  painters  are  well  repre-  J 

sented  ? | 

Page  fourteen 


i^itral  ^aintins 

1.  Under  what  discouraging  conditions  did  La- 

Farge  undertake  the  first  commission  for 
mural  painting  in  America?  X,  235. 

2.  What  exposition  gave  great  impetus  to  this 

form  of  artistic  expression?  X,  236. 

3.  What  well  known  painters  were  chosen  to 

beautify  the  Boston  Public  Library? 

4.  Who  executed  the  Grail  frieze? 

5.  What  work  of  Sargent’s  is  here? 

6.  Who  directed  the  mural  decoration  of  the  Con- 

gressional Library?  X,  239. 

7.  Note  the  six  illustrations  showing  the  Evolu- 

tion of  the  Book.  X,  240. 

8.  What  work  of  Vedder’s  is  here? 

9.  The  rotunda  received  what  treatment? 

10.  What  unique  conception  was  given  expression 

at  the  Carnegie  Institute  ? X,  242. 

11.  What  well  known  artists  made  beautiful  the 

State  Capitol  of  Minnesota? 

12.  Some  of  LaFarge’s  best  work  is  here. 


Exten- 

sion 

Work 


25i6Uograp!)p 

History  of  American  Art,  2 vols.,  Hartman; 
Pag-e.  1901. 

History  of  American  Sculpture,  Taft;  Macmil- 
Ian.  1903. 

Famous  Painters  of  America,  McSpadden; 
Crowell.  1901. 

History  of  American  Painting,  Isham;  MacmiF 
Ian.  1910. 

American  Masters  of  Painting,  Caffin ; Century. 
1902. 

American  Masters  of  Sculpture,  Caffin;  New 
York.  1903. 

American  Mural  Painting,  King;  Boston.  1902. 
LaFarge,  Cortissoz;  Houghton.  1911. 

Life  and  Works  of  Winslow  Homer,  Downes; 
Houghton.  1911. 

Memories  of  Whistler,  Way ; Lane.  1912. 

Life  of  Whistler,  2 vols.,  Pennell;  Lippincott. 
1909. 

Art  Treasures  of  Washington,  Henderson;  Page. 
1912. 

History  Metropolitan  Museum,  Howe;  New 
York.  1913. 

Art  of  Metropolitan  Museum,  Preyer;  Page. 
1909. 


Page  sixteen 


THC  OCLFHIAN  PRESS 
CHICAGO 


\ 


